Master of Music Handbook 22 23

Royal
Conservatoire
The Hague
Master of
Music
Handbook
Academic Year 2022/23
Classical Music, Early Music, Jazz, Vocal Studies (except Ensemble Singing), Conducting (except National Master Orchestral Conducting (NMO)), Organ,
2 European Chamber Music Master (ECMAster), European Master of Early Music (EMEM), The Musician Educator, New Audiences and Innovative Practice (NAIP), Art of Sound 1
Contents
Preface 5
Part A 11
Classical Music, Early Music, Jazz, Vocal Studies
(except Ensemble Singing), Conducting (except
National Master Orchestral Conducting (NMO)),
Organ, European Chamber Music Master (ECMAster),
European Master of Early Music (EMEM),
The Musician Educator, New Audiences and
Innovative Practice (NAIP), Art of Sound, and the
master specialisations Orchestra Master, Ensemble
Academy, Ensemble Percussion, Chamber Music, and
Complementary Subject
A.1 – Scope of part A 12

A.2 – Overview of the Master Project 13
A.3 – Timeline Master Project 17
A.4 – Individual Research Trajectory 18
A.5 – Professional Integration Trajectory 28
A.6 – Deadlines and presentations Master Project 31
Part B 39
Composition, Theory of Music, Music Education
according to the Kodály Concept, and Vocal Studies
(Ensemble Singing)
B.1 – Scope of part B 40

B.2 – Timeline Research 42
B.3 – Individual Research Trajectory 44
B.4 – Deadlines and presentations Research 54
Although the information in this Handbook has been
put together with great care, it may contain errors or
omissions. It may be amended or updated at any time.
Any updates will be communicated via portal.koncon.nl
Collaborations with other institutions 59
(Master Research page), ASIMUT or KonCon e-mail.
Please always make sure that you read the latest
information: this is version I: updated 11 July 2022.
Contact and further information 60
Preface
This handbook provides you with information about the
background, structure and content of the research component
and, if applicable, the Master Project in the Master of Music
programme at the Royal Conservatoire. It also provides
teachers, research supervisors, professional integration
coaches and master circle leaders with relevant information1.
The handbook should be read in combination with the Royal
Conservatoire’s Study Guide, the Curriculum Handbooks, the
Master Electives Handbook and information on the KC Portal
and our website.
The educational philosophy of the Master of Music programme

at the Royal Conservatoire is dedicated to developing
your individual artistic vision, personal growth, inquisitive
and entrepreneurial attitude and independence, and your
instrumental and technical skills at a high qualitative level.
We strive for our alumni to become excellent performers and
composers, and also professionals who can reflect on their
role in society and navigate the complex realities of today’s
music profession. To guide your development, the curriculum is
designed in three domains: artistic development – research –
professional integration2.
The programme is aimed at helping you to find your place in the

professional practice. Therefore, you are constantly encouraged
to make your own choices and develop and carry out your own
ideas and plans. We challenge you to connect all three domains
in a way that is meaningful and relevant to you, so that you
can find your ‘niche’ and prepare yourself for the professional
practice after you have finished your studies.
This handbook focuses on the Master of Music programme. Two

other master’s programmes offered by the Royal Conservatoire,
the Master of Music in Sonology and the Master of Music in
1 Further information for research supervisors, professional integration coaches,

circle leaders and main subject teachers can be found in the ‘Master Project
Guidelines for internal and external research supervisors, professional
integration coaches, master circle leaders and main subject teachers’
2 The names of these domains may differ slightly for some disciplines.
4 5
Opera (Dutch National Opera Academy – DNOA), are registered
separately. Additional information about those programmes can
be found via our website.
As the structure of your curriculum differs depending on your

discipline, this handbook consists of two distinct parts.
Please read only part A or part B, depending on your discipline:
Part A applies to the disciplines Classical Music, Early Music,

Jazz, Vocal Studies (except Ensemble Singing), Conducting
(except National Master Orchestral Conducting (NMO)), Organ,
European Chamber Music Master (ECMAster), European Master
of Early Music (EMEM), The Musician Educator, New Audiences
and Innovative Practice (NAIP), Art of Sound, and the master
specialisations Orchestra Master, Ensemble Academy, Ensemble
Percussion, Chamber Music, and Complementary Subject. Please
turn to see page 9
Part B applies to the disciplines Composition, Theory of Music,

Music Education according to the Kodály Concept, and Vocal
Studies (Ensemble Singing). Please turn to see page 37
We sincerely hope this handbook will provide you with all the
necessary information. Nevertheless, if you are in need of further
information, please do not hesitate to contact the Master
Research Team and/or Professional Integration Team.
Kathryn Cok
Head of Master Research
Roos Leeflang
Coordinator Master Research
Casper Schipper
Research Catalogue support
Renee Jonker
Head of Professional Integration
Isa Goldschmeding
Coordinator Professional Integration
Martin Prchal
Vice-principal Royal Conservatoire
6 7
Part A
Classical Music
Early Music
Jazz
Vocal Studies (except Ensemble Singing)
Conducting (except National Master
Orchestral Conducting (NMO))
Organ
European Chamber Music Master (ECMAster)
European Master of Early Music (EMEM)
The Musician Educator
New Audiences and Innovative Practice (NAIP)
Art of Sound
8
New master’s students* are expected to attend the
Master of Music welcome session during the Royal
Conservatoire’s Start-Up! week.
Contents
Master of Music welcome session
Monday 29 August, 19.00 – 20.30 A.1 – Scope of part A 12
Conservatoriumzaal A.2 – Overview of the Master Project 13
A.3 – Timeline Master Project 17
A.4 – Individual Research Trajectory 18
A.5 – Professional Integration Trajectory 28
* Master’s students from the following disciplines and A.6 – Deadlines and presentations Master Project 31
specialisations:
• Classical Music • Organ Collaborations with other institutions 59
• Early Music (including • European Chamber Music Contact and further information 60
the European Master Master (ECMAster)
of Early Music) • New Audiences and
• Jazz Innovative Practice (NAIP)
• Vocal Studies • Art of Sound
(classical & early music) • Orchestra Master
• Conducting (except • Ensemble Academy
students of the • Ensemble Percussion
National Master • Chamber Music
Orchestral Conducting) • Complementary Subject
• The Musician Educator
Contact Royal Conservatoire

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A.1 – Scope of part A A.2 – Overview of the
This part of the handbook focuses mainly on the Master Project
Master Project
and applies to students from the following disciplines:
Classical Music, Early Music, Jazz, Vocal Studies (except
Ensemble Singing), Conducting (except National Master
Orchestral Conducting (NMO)), Organ, European
Chamber Music Master (ECMAster), European Master
of Early Music (EMEM), The Musician Educator, New
Audiences and Innovative Practice (NAIP), Art of Sound,
and the master specialisations Orchestra Master, Ensemble
Academy, Ensemble Percussion, Chamber Music, and
Complementary Subject.
Important: always check the online curriculum overview of

your discipline. You can find your curriculum overview in your The main goal of the Master of Music programme is for students
curriculum handbook. to develop and complete their own Master Project that will
integrate the following three domains:
Art of Sound A. Artistic Development: you will receive individual tuition

Students from the master Art of Sound follow the curriculum by the teachers of your main subject. You develop a vision
that is described in this part of the handbook, but they do not for your artistic development: what kind of musician would
choose a focus area, they follow the course ‘Writing Skills’ you like to become? You will be allocated a fixed amount of
instead of choosing a master elective, and they have their own individual contact time with your teacher(s). Furthermore,
master circle, which is dedicated to Art of Sound. They will be you will participate in for example: group lessons, combo
assigned a research supervisor as well as a methodology coach lessons, chamber music activities, ensemble classes,
via the Art of Sound department. orchestral projects, Big Band projects or composition projects,
and in some departments you will receive instruction by
a coach pianist.
The Musician Educator B. Research: you will conduct research on a subject of your
Students from the master The Musician Educator follow part own choice, which should be connected to your Artistic
A but have a slightly different curriculum. They do two extra Development and Professional Integration Activity and
research courses with an emphasis on music education and preferably also one of the nine focus areas (see chapter A.4).
choose one master elective per year. For more information, You will receive individual research supervision and attend
check the curriculum overview and course descriptions in the an introductory course on research in the arts, as well as an
TME curriculum handbook. elective course.
C. Professional Integration: you will present yourself and your
work in a professional context. You will attend an introductory
course on project management during which you will design
a plan for your Professional Integration Activitity (PIA), and
you will receive coaching by a professional integration coach
(typically an external expert from the professional practice),
individually and in small groups, who will guide you in realising integration coach. Based on the introductory courses and
your PIA. Your PIA should be connected to your Artistic the master circle, you will have a plan ready for your Master
Development and Research. Project at the end of this semester. This Master Project
proposal will be the conclusion of the course ‘Introduction to
Your Master Project will be discussed in a monthly Master Circle. Research in the Arts’ as well as the course ‘Introduction to
The Master Circle is the place where the three elements of the Project Management'.
Master Project come together and where the Master Project as • Semester 2: Continuation of master circles, in which you
a whole is discussed with your peers. The circle includes first- can discuss your ongoing Master Project,and work with your
and second-year students and is facilitated by a specially invited individual research supervisor and professional integration
master circle leader who is knowledgeable in the focus area. coach. In May, you will be asked to present the progress you
have made in your Master Project in the master circle. Master
Examples of such a Master Project could be: electives, which in terms of content will also be connected
• Organising your own external performance event, festival, to the focus areas, usually take place in this semester. Ideally,
concert series or tour for which you have researched the part of your main subject presentation programme relates to
repertoire to be presented during these events and which your Master Project.
connects to your final master’s presentation (recital) or even • Semester 3: Continuation of master circles and of the
takes place instead of your final presentation. sessions with individual research supervisors and professional
• Working together with a master composition student to integration coaches. This is also a good moment to go abroad
create your own new repertoire, research the creative process, on an ERASMUS exchange (please see page 59 for more
perform the works in an external, possibly unusual venue and information about ERASMUS).
present the composition at the end of your studies. • Semester 4: Finalisation of Master Project, master research
• Designing a new interdisciplinary work of art/performance, presentation, realisation of PIA and final presentation.
in collaboration with partners from the Royal Academy of Art
and/or Royal Conservatoire, e.g. from the fields of visual arts, Master Project Network
artscience, dance, sonology. The three domains in the Master – Artistic Development,
• Developing an edition of repertoire that you will present at Research, and Professional Integration – provide you with a rich
your final presentation which you have researched and worked network of expertise in which to explore, develop, and present
on in your main subject lessons or developing a new method your Master Project.
book that you will use in your teaching practice.
• Developing a website or online learning resources on
a certain topic (such as, for instance, mental training),
researching this topic and incorporating your findings into your
artistic development.
• Developing a (series of) workshop(s) on a specific skill or
aspect of performing, researching this aspect and then using
the outcomes in your own practice, as well as to teach others.
This is just a non-exhaustive list of examples, as there are many
possibilities to be explored.
Schedule and courses

The programme’s schedule will be as follows:
• Semester 1: Introductory courses ‘Research in the Arts’ and
‘Project Management’. Start of the master circles, organised In order to make the most of this network for both you as the
according to nine focus areas, with an introduction to the student as well as the network team, it is important to delineate
themes they will be addressing. You will also be assigned who is responsible for what aspect of the process, and where
to your individual research supervisor and professional help or guidance can be requested, if necessary.
A.3 – Timeline
The main subject teacher is of utmost importance for your
artistic development and therefore also plays a crucial role
in the development and assessment of your Master Project
Master Project
proposal. Main subject teachers will be invited to take part in
the assessment committee for their students during the Master
Research Symposium.
The research supervisor is responsible for guiding and inspiring

you in the development, planning and process of the research First Year Students
domain, and plays an important role in the development Welcome sessions 29 August 2022
and assessment of your Master Project and of course, the Start work with research supervisor October 2022
assessment of your final research exposition on the Research
Catalogue and during the Master Research Symposium. Registration master electives 1 – 15 November 2022
Research supervisors will be required to give feedback on your Deadline Master Project proposal 18 January 2023
work in the form of a progress report, which will be sent to the
master circle leader, and be taken into account when assessing Deadline revised Master Project 1 March 2023
the First Year Master Project Presentation. In addition, at proposal
the end of year 1, supervisors will be required to give a Pass/ Start work with professional October 2022
Fail assessment. integration coach
Master Research Symposium: 27 – 31 March 2023
The professional integration coach has the role of guiding
Attendance of 3 presentations required
and encouraging you in the development of your Professional
Integration Activity. Coaches will be required to give feedback First Year Master Project Presentation May 2023 (t.b.a.)
on your work in the form of a progress report, which will be
sent to the master circle leader, and be taken into account Second Year Students
when assessing the First Year Master Project Presentation. In Deadline requests date Symposium 5 October 2022
addition, at the end of year 1, coaches will be required to give a Deadline pilot/prototype PIA 6 November 2022
Pass/Fail assessment.
Deadline preliminary version research 23 November 2022
The master circle is where all three domains come together for exposition or thesis
you and should function as a safe environment where students Deadline research abstract 15 February 2023
can encourage and inspire eachother on the development and
planning of their Master Project. The master circle leader Deadline research exposition or thesis 22 February 2023
therefore has the important role of facilitator of discussion and Master Research Symposium: 27 – 31 March 2023
is responsible for ensuring the continued connection between research presentations
artistic development, research and professional integration.
Deadline self-reflective report 7 May 2023
Master circle leaders will receive progress reports from both
Professional Integration
your research supervisor and professional integration coach and
will be responsible for assessing the First Year Master Project Deadline material re-examinations 10 May 2023
Presentation of the students in their circle. research
Re-examinations 12 – 13 June 2023
In order to ensure that the Master Project Network functions research presentations
optimally, all network team members are requested to keep in
contact with each other throughout the two-year Master study Deadline re-examination self-reflective 18 June 2023
of their respective students. report Professional Integration
A.4 – Individual
players or singers, the use of microphones and amplification in
the classical concert, or the relation between instrumental set-
ups and acoustics.
Research Trajectory

3. Music in Public Space
Research activities investigating the role of music and
musicians in society and daily life. Examples could be the role
of music in outreach activities, questions about music curation
or the social and political engagement of musicians in public
Research training in the master’s programme centres on life. Social sensibility, engagement and awareness of cultural
performing your own artistic research, where you specialise dynamics and diversity are essential values in this area.
in your own field. As a rule, your own artistic/musical practice
will be the point of departure when choosing a research 4. Creative Practice
topic and when formulating the research question. Research activities in this area are reflective investigations in
and through the creation of music. Artistic experimentation
and documentation of the creative process are essential tools
A. Focus areas for researching in this area. The perspective of the creating
Students will be introduced to nine focus areas during the artist is central, but also her ability to situate and contextualise
course ‘Introduction to Research in the Arts’, and will also be research results in a wider artistic and cultural context.
placed in a master circle which centres on one of these focus
areas. The distribution of students over the various master 5. Beyond Discipline
circles is based on the Master Project Plans sent in as part of Research topics focussed on multidisciplinary collaborations or
the application process. The nine focus areas are: expansions of the musical practice through the integration of
extra-musical perspectives. Examples are investigations into the
1. Art of Interpretation role of musicians in multidisciplinary productions, the inclusion
Research topics focussed on the musical interpretation of gesture, singing or acting in instrumental performance, or the
of repertoire, both historical and contemporary. Besides collaboration with non-artistic disciplines in musical creation.
artistic experimentation, research in this area presumes the Curiosity, risk-taking and the willingness to temporarily put
study of various kinds of sources (scores, texts, recordings) on hold the norms and values of common craftmanship are
which may inform and inspire the musical interpretation characteristic values in this area.
and eventually lead to altered approaches of performance
practice. Critical listening and reading, stylistic enquiry and 6. Musical Training, Performance & Cognition
contextualisation of musical choices are typical ingredients Topics investigating the process of musical learning and
of research in this area. performance. The focus may lie on musical preparation,
avoidance of injuries, musical memory, mental and physical
2. Instruments & Techniques focus in performance, or the improvement of musical training
Research topics focussed on the design, use, role and and rehearsal methods. Research in this area is often informed
function of instruments and their playing techniques in by other knowledge fields such as (music) psychology,
musical practice. Research in this area typically requires biomedical sciences, physiotherapy etc. Although there are
the application of knowledge about instrument making, possible overlaps with focus areas 8 and 9, the performer’s
acoustics or electronics, or the movement possibilities of perspective is central in this area.
the human body. Researchers in this area show a technically
oriented interest, eagerness to experiment, sensibility for 7. Aesthetics & Cultural Discourse
sound, detail and analytical observation. Examples are the Where do the standards, beliefs and values that surround
exploration of historical, alternative or extended bowing musical practice originate from? Research topics in this focus
techniques for string players, breathing techniques for wind area aim at an in-depth understanding of the entanglement
of musical practice, cultural contexts and societal dynamics. that, students who choose to write a thesis (see page 23)
Musical practice and experience are starting points for a and communicate this with the Master Research Team before
broader cultural and aesthetical inquiry. Possible examples of 1 May 2023 will receive 5 additional hours of individual research
topics are the investigation of changing sound ideals, historical supervision, bringing their total research supervision over
approaches of conceptions of ‘the beautiful’ or ‘musical taste’, the two years of their studies up to 20 instead of 15 hours.
and discussions about notions of ‘musical quality’. The musician- The method and frequency of supervision is entirely up to
researcher in this area has an affinity for thinking, reasoning and the supervisor and to you and will differ from one individual
writing through language. to another. You and your (internal) supervisor use the online
Research Catalogue as a repository of your work in progress and
8. Educational Settings final research exposition.
Research in this area hones in on contexts such as classrooms,
social-cultural work and participatory art projects where the In April of your first year, your internal supervisor will be asked
musician operates as a teacher, cultural mediator or coach. to write a brief report on the progress of your research, which
will be sent to your master circle leader. In the report, your
9. Music Theory & Aural Skills supervisor will be asked to answer the following questions:
Research topics focussed on the combined theoretical and aural
understanding of music as an acoustic and cultural phenomenon. 1. H ow would you describe the communication and working
Examples are the investigation of tuning systems, scales relationship between you and the student so far?
and modes and their application in music, or the relationship 2. Has the student settled on a viable research topic?
between rhetoric and musical form in baroque music. Projects in 3. To what extent does the student show insight into what
this area are often aimed at knowledge that may be systematised steps to take in order to answer their research question?
for music didactics. An analytical and methodical approach is 4. How would you describe the student’s motivation in moving
characteristic for research in this area. forward at this point in the development of their research?
Based on these questions, your supervisor will also be asked to

B. Research Supervisor grade the progress you have made with your research in your
You will have a personal research supervisor, from October in first year with a ‘pass’ (if you are on the right track) or a ‘fail’ (if
your first year up to your research presentation in March or April you are behind and not progressing). A ‘fail’ mainly functions
of the second year. You will be assigned a research supervisor in as a warning and indicator; your supervisor can re-assess your
October. This supervisor will be selected from a pool of teachers progress once you are back on track.
and researchers specially trained for this purpose. In addition,
you may choose a supervisor from outside the pool of supervisors, The Royal Conservatoire will not pay your travel expenses if you
with whom you can work part of the time in conjunction with want to visit supervisors in other cities than The Hague, nor will
your assigned supervisor, should this be deemed necessary. Such the school pay travel expenses for supervisors who travel from
an external supervisor could be an eminent musician or scholar outside The Netherlands.
who is not connected to the conservatoire and who is specialised
in the area of the research you are planning to undertake. A
proposal for an external supervisor will have to be discussed by C. Documenting and presenting your research
5 October 2022 with the Head of Master Research. While the format of presentation and documentation may vary
greatly depending on the nature of the research, its outcome,
You have 60 minutes a month for personal instruction by your and your main subject study, there must be a coherent
research supervisor. This represents 15 hours of individual relationship between the research subject and the resulting
supervision, including your supervisor's preparation of and documentation and presentation. You should be aware of
attendance at your trial presentation and final research the importance of the research subject for your own artistic
presentation, over the entire course of the programme development, for your Master Project, for other students and/
(including time spent with an external supervisor). On top of or for the music world at large. In the three semesters leading
up to the presentation of the research, you will have developed During the Master Research Symposium (see page 24) you
a viable research question, and undertaken research with the are required to give a research presentation of 30 minutes, in
guidance of a research supervisor. The results should have a which the artistic result should be demonstrable.
significant impact on your performing practice.
The research exposition must contain the following information:
Research Catalogue 1. A Title Page (including title, your name, main subject,
The Research Catalogue (researchcatalogue.net) is an student number, date, Royal Conservatoire The Hague,
international database for the documentation and publication name(s) of research supervisor(s) and the final chosen format
of artistic research, and you will use it to document and present of documentation (Exposition);
the research component of your Master Project. You will 2. The research question or issue addressed and its relevance
receive an introduction to the use of the Research Catalogue for peers, your own artistic development and the music
through a workshop as part of the course 'Introduction to world at large;
Research in the Arts'. 3. A description of the research process (the search for the
solution to the research question) including methodology3;
Formats 4. An analysis or critical discussion of the findings;
The final documentation of the research results must take the 5. Conclusions;
form of a research exposition or thesis and must be presented on 6. A list of the sources consulted: next to the bibliography this
the Research Catalogue. The exposition or thesis must be written may also include a list of interviews, experiments, etc;
in English and adhere to one of the following formats: 7. The exposition may include performance registrations,
transcriptions, original compositions, musical analysis,
1. Research exposition instruction manuals, images or other material relevant to the
The research exposition is the culmination and final product of an research. It should be structured and embedded within the
in-depth period of research, and should include: critical thinking, Research Catalogue.
source evaluation, and documentation. The research exposition
should also serve as a vehicle for sharing new or expanded h You must also adhere to the rules for quoting sources as
knowledge with the wider world. It should be centered upon a addressed in the Introduction to Research in the Arts
process that concerns your musical practice, and at the same course;
time should demonstrate acquired research skills. h Suggested word count: 5,000-10,000 words, with an
absolute maximum of 40,000 words.
In the research exposition, the balance between the use of text h The exposition must be uploaded into the Research
and the use of other media (audio, video, scores, images) may Catalogue for submission.
vary. Whatever style you choose for the final dissemination of
your research, your artistic practice should remain central to 2. Thesis
the research and the resulting research exposition. You should If you wish to write an academic thesis, you should produce a
decide, in consultation with your supervisor(s), what balance substantial document with a defined structure, including an
and configuration of words, sounds and images, are appropriate introduction, a body and a conclusion, in which you document
to the communication and publication of your research. Here your research through reasoning and the use of evidence and
the multimedia possibilities of the Research Catalogue make the correct use of sources. Students planning to continue on
it possible to choose the most adequate format of the final to a PhD programme are advised to choose this format. Your
research exposition. artistic/musical practice will still be the point of departure.
You are encouraged to embed non-textual elements of your During the Master Research Symposium (see page 24) you
research directly into your written work on the RC, the action of are required to give a research presentation of 30 minutes,
doing so providing you with additional multimedia research and during which you defend your research subject and results
documentation skills. This, in addition, aids the presentation and
dissemination of your research results to the wider world. 3 To be discussed in the Introduction to Research in the Arts course.
and in which the artistic result should be demonstrable. The A computer (PC or a Mac; this depends on venue and
committee will include at least one member with a PhD. availability), internet connection, beamer and monitor will
be present. You may use your own computer, but you can
The thesis must contain the following information: also use a USB stick for your presentations, which you should
1. A Title Page (including title, your name, main subject, test beforehand. If other materials are required (instruments
student number, date, Royal Conservatoire The Hague, other than a grand piano, equipment, technology, etc.), you
name(s) of research supervisor(s) and the final chosen format must arrange this yourself (via the Planning Department, the
of documentation (Thesis). IT Department and/or the Electronics Workshop). We will
2. The research question or issue addressed and its relevance make sure the grand piano has been tuned, but we are not
for peers and your own artistic development; responsible for the tuning of other instruments.
3. A description of the research process (the search for the
solution to the research question) including methodology; The live presentations will be recorded and filmed for quality
4. An analysis or critical discussion of the findings; assurance purposes. This material will only be for internal
5. Conclusions; use and school archives, and cannot be shared with students
6. A list of the sources consulted. for personal use.
h You must adhere to the rules for quoting sources as

addressed in the Introduction to Research in the Arts course. Once the schedule has been made and communicated
h Suggested word count: 15,000-20,000 words, with an via our online scheduling system ASIMUT
absolute maximum of 60,000 words. (koncon.asimut.net), it is no longer possible to
h The thesis must be uploaded into the Research Catalogue change times, dates and/or locations. Any requests
for submission. should be sent to the Coordinator Master Research
by 5 OCTOBER 2022. In order to make a correct
Students and supervisors are advised to discuss which format schedule for the Master Research Symposium in March
best suits the chosen research topic of the student with 2023, all 2nd year students should inform the Master
Kathryn Cok in year 1. Students who choose to write a thesis Research Team by 5 OCTOBER 2022 if their chosen
and communicate this with the Master Research Team before format is a thesis. After this date it is no longer possible
1 May 2023 will receive 5 additional hours of individual research to alter the format.
supervision, bringing their total research supervision over the
two years of their studies up to 20 instead of 15 hours.
Master Research Symposium Checklist research documentation and presentation

In the second semester of your second year of study, you are When finalising your research exposition or thesis and
required to give a 30-minute presentation of your research preparing for your research presentation, it can be helpful to
in English to the committee of examiners in front of an use the following checklist.
interested audience, having chosen an appropriate format of
presentation and documentation. The presentation will take Relevance
place in one of the larger studios of the Royal Conservatoire, • Artistic development
and should include live performance or audio and/or video Is the research relevant for the artistic development
examples in order to demonstrate the outcomes of your of the student?
research. You are in particular encouraged to demonstrate • Wider context
outcomes with your instrument or voice. The presentation is Is the research relevant for others, e.g. other students,
followed by questions from the committee of examiners and musicians, for the professional field or musical
if time allows, members of the audience. You will be given the life at large?
results of your research and presentation immediately following
the deliberations of the committee.
Project design and content framework developed by the European Association of
• Questions, issues, problems Conservatoires (AEC), which is based on a broad consultation
Are the research questions, issues or problems well with institutions all over Europe and experts from the music
formulated or articulated? And how do they relate to the profession. All our course descriptions in the curriculum
student’s main studies and Professional Integration Activities? handbooks refer to these programme objectives and the course
• Methods objectives and assessment criteria are connected to them.
Are the chosen methods adequate to answer the questions,
issues or problems? And how is musical practice as You can find more information about the assessment of the
method employed? research presentation in the course description of ‘Individual
• Process Research Trajectory’ in the Curriculum Handbooks. The
Is the research process sufficiently well described or otherwise course description also contains a detailed assessment rubric,
communicated? To what extent is the research process based including the assessment criteria, which an examination
on a dialogue between artistic practice and reflection? committee will use to assess your research documentation
• Contextualisation and presentation. The assessment criteria from the rubric have
Does the student demonstrate sufficient awareness by relating also been formulated as a checklist you can use when finalising
the research to the field of inquiry and to what others have your research documentation and preparing for your research
done in this area? presentation (see page 25).
• New knowledge, insights, experiences,
techniques and/or devices
Does the research deliver something that we did not know, Compliance with international standards
understand, experience or have? In general, master’s students should attain the learning
outcomes as described in the Learning Outcomes for
Argumentation, documentation, presentation master’s studies defined by the European Association
• Reasoning, writing, documentation of Conservatoires (AEC), such as:
Does the research make a clear case or claim and how does • Practical (skills-based) outcomes
the use of text relate to the use of non-textual, e.g. artistic 2.A.7. Evidence ability to develop, research
material? And does the form of documentation support the and evaluate ideas, concepts and processes as
claim of the research? appropriate within their discipline, genre, area of
• Information, source material, referencing, language study, and/or own artistic practice.
Is the information accurate, is the handling of source • Theoretical (knowledge-based) outcomes
material and the referencing correct, and is the use of 2.B.7. Evidence understanding of a range of
English acceptable? sophisticated investigative techniques, enabling
• Public presentation the application of selected approaches to develop,
Is the verbal and public presentation of the research well- frame, research and evaluate ideas, concepts and
structured and convincing? And is the role of the artistic work processes as appropriate within their discipline,
in the presentation clear? Is the use of English acceptable? genre, area of study and/or artistic practice
• Generic outcomes
2.C.7. Recognise the interrelationship between
D. Assessment of the Research Results theory and practice, and apply such knowledge
The Royal Conservatoire has based its master programme to underpin and strengthen their own
objectives on the AEC Learning Outcomes (2017) for 2nd cycle artistic development.
studies4 (= master’s study). This is an international qualification
4 Reference Points for the Design and Delivery of Degree Programs in Music,
Appendix A. AEC/Tuning Project, Bilbao July 2010. To be found at
unideusto.org/tuningeu/images/stories/Publications/tuningMusic2011.pdf.
A.5 – Professional
integration coach is typically an external expert from the
professional field with substantial expertise and experience
with the production of concerts, tours and other musical
Integration
events, and/or setting up and running an ensemble or
orchestra. Your coach can give specific help in cultivating
contacts in the world of venues, educative and creative
Trajectory
entrepreneurship, and provide general advice about
implementing your activity plan.
The coaching will take place individually and in group sessions,

during which you will discuss the progress of your PIA with
Professional Integration is the third domain of your Master your coach and your peers. You are entitled to 9 hours of
Project: through its connection to your Artistic Development coaching, divided over two years. In May of your first year, your
and your Research, this part of the programme aims to help coach will be asked to write a brief report on the progress of
you to become a pro-active and independent musician able to your PIA, which will be sent to your master circle leader as well
shape your own professional future. as the committee for your Master I Presentation. In the report,
At the core stands the invitation to create, develop and your coach will be asked to answer the following questions:
realise a Professional Integration Activity (PIA). The PIA is 1. How would you describe the communication and working
an activity you initiate yourself (or with fellow students), relationship between you and the student so far?
and needs to be realised outside the Royal Conservatoire. 2. Has the student settled on a viable PIA (Professional
Developing your PIA will help you to compose your own Integration Activity)?
survival kit for dealing with challenges of the profession and 3. To what extent does the student have a clear idea on what
create a new ecology for the arts. steps to take to realise their PIA?
4. How would you describe the student’s motivation in moving
‘Introduction to Project Management’ forward at this point in the development of the Professional
You will be prepared for this part of your master’s programme Integration Activities?
in the introductory course ‘Introduction to Project
Management’ in the first semester. It is an art in itself to Based on these questions, your coach will also be asked to
manage a Professional Integration Activity, to ask yourself the grade the progress you have made with your PIA in your first
right questions, to determine what value you want to create, year with a ‘pass’ (if you are on the right track) or a ‘fail’ (if you
to set short- and long-term goals, and to predict what will are behind and not progressing). A ‘fail’ mainly functions as a
come on your path in a structured way. In only five seminars warning and indicator; your coach can re-assess your progress
we will introduce this art to you. Do you have to develop once you are back on track.
your own individual PIA? You may, but you can also choose
to collaborate with others. Must your PIA be realised within You will be asked to do a pilot or create a prototype of your
the two years of your master’s? Preferably yes, but if your PIA to test it and to collect valuable feedback that can help
PIA is well prepared, it may extend beyond this period. Does you to develop your PIA. After handing in documentation
your PIA have to be a success? Let’s hope it will be, but most of your pilot/prototype you will receive feedback from
important is that your PIA offers you the best environment for the Head of Professional Integration and professional
learning. In case it fails, quoting Samuel Beckett, you will learn integration coach(es).
to ‘fail better’ next time.
You will finish the Professional Integration Trajectory by
Professional Integration Coaching writing a self-reflective report in which you reflect on the
You will have a professional integration coach from October process and deliverables of your PIA. If you have developed a
in your first year util May in your second year, who will guide PIA in collaboration with other students, each student needs
you in developing and realising your PIA. The professional to write an individual self-reflective report.
Your self-reflective report should contain the following:
A.6 – Deadlines and
presentations Master
1. Documentation and description of your PIA.
2. Documentation and description of your Pilot/Prototype.
3. A description of your goals and the values your
Project
PIA has created.
4. Reflection on the deliverable of your PIA.
5. Reflection on the process.
You are expected to hand in written proposals or (interim)

results during the two-year master’s programme, as well as give
presentations, so that the progress of your Master Project can
be monitored. This chapter provides you with more information
about the deadlines and presentations mentioned in see chapter
A.3 (Timeline Master Project).
I: Deadline 18 JANUARY 2023 – Master Project proposal

(1st year students only)
You must write and develop your personal Master Project
proposal in English as soon as possible in the first semester of the
first year of the master’s programme in consultation with your
research supervisor and master circle leader. This proposal will
be the conclusion of the course ‘Introduction to Research in the
Arts’ as well as the course ‘Introduction to Project Management’.
A detailed assessment rubric for the Master Project proposal can
be found in the course description of ‘Introduction to Research
in the Arts’ in the Curriculum Handbooks. Your Master Project
proposal must adhere to the following format:
Format Master Project proposal

Your Master Project proposal consists of
three elements:
A. Describe your view on your artistic development,

taking into account the following questions:
1. What characterises you as a musician in terms of
skills, motivations and/or interests.
2. What kind of musician would you like to become?
What are your career aspirations?
3. What do you need to work on in order to become
this musician?
4. How can your master studies help you achieve Artistic development
your goals? How is your vision for your artistic 3. What are your goals for this area, where are you now
development reflected in your research (B) and and what are your goals for the next academic year?
your Professional Integration Activities (C )?
Research
B. Using the following format, provide a detailed 4. What is your research question at this point in time?
plan for researching and documenting the 5. Describe your research in one minute; please
research component of your Master Project on the ensure the link with the other two components
Research Catalogue: in your Master Project (artistic development and
1. Title and possible sub-titles professional integration) is also addressed.
2. A research question 6. Are you working with your research supervisor and
3. Possible sub-questions how is this going?
4. A brief description of the topic, including
planning, chosen methods, and research process Professional integration activity
5. Chosen form of documentation and presentation 7. Describe the status of your Professional Integration
(during the Master Research Symposium) Activity and how it relates to your research and
artistic development.
C. Submit your Brief Description of Professional 8. Are you working with your professional integration
Integration Activities in the following format: coach and how is this going?
1. Describe the background and
motivation of your PIA. Planning of your Master Project
2. Describe your PIA. 9. What is your timeline from now until the summer holiday?
3. Describe your deliverable. 10. How do you see yourself completing your research
4. Describe the short-term goals of your PIA. and professional integration activity in year two?
5. Describe the long-term goals of your PIA. 11. What issues, obstacles or challenges need a
6. Describe the values you will create with your PIA. solution, and what are you doing to find solutions?
In May, your master circle leader will also receive reports on your
II: Presentation MAY 2023 – First Year Master progress from your research supervisor and your professional
Project Presentation integration coach. The information in these reports will be
(1st year students only) taken into account by your master circle leader when grading
In May, all first-year students will be asked to present the your presentation. A detailed assessment rubric for the First
progress they have made with their Master Project in the master Year Master Project Presentation can be found in the course
circle. The exact date of your presentation will be communicated description of the ‘master circle’ in the Curriculum Handbooks.
to you by your master circle leader. Your presentation should last
around 10-15 minutes and address the following 11 questions:
All first year students are obliged to visit at least three
presentations during the Master Research Symposium
Master Project (for more information about the symposium, see
1. How is your Master Project developing? page 24). The schedule of the presentations will be
2. What are its aims and how are the three distributed well in time via KonCon e-mail addresses
components (artistic development [main subject], and internet/the KC Portal.
research and professional integration) integrated?
III: Deadline 6 NOVEMBER 2022 - Pilot/Prototype of PIA VI: Deadline 22 FEBRUARY 2023 – final research
(2nd year students only) exposition or thesis
1. Provide documentation of your Pilot/Prototype (2nd year students only)
Show us your pilot/prototype in video and/or audio A complete digital version of the final research exposition
recording, images, photos, written statements, etc. or thesis must be submitted in English on the Research
2. Describe your Pilot/Prototype by answering Catalogue. Please make sure your (internal) supervisor has
three questions: given their approval for submission of your research on
• What did you test? the RC by means of a digital ‘post-it note’ or comment. Precise
• How did you test this? instructions about this process on the RC will be sent well
• How do the results influence your PIA? in advance to your supervisors by Casper Schipper. Please
see pages 22-28 for the formal requirements. A detailed
assessment rubric for the Master Research Presentation can
IV: Deadline 23 NOVEMBER 2022 – preliminary version of be found in the course description of the ‘Individual Research
research exposition Trajectory’ in the Curriculum Handbooks.
(2nd year students only)
A preliminary version of the final research exposition or thesis
must be submitted in English to the Research Catalogue. The VII: Presentation 27 – 31 MARCH 2023 – master
preliminary version of the research exposition or thesis should research presentation
adhere to the same format (length and content) as the final (2nd year students only)
version (see pages 22-24), the only difference being that at During the Master Research Symposium, you are required
this stage you are still permitted to alter and add material, to give a 30-minute presentation of your research in English
e.g. text, after comments of the Head of Master Research to the committee of examiners in front of an interested
and supervisor(s). audience, having chosen an appropriate format of presentation
and documentation. The presentation should include live
performance or audio and/or video examples in order to
V: Deadline 15 FEBRUARY 2023 – abstract demonstrate the outcomes of your research. You are in
(2nd year students only) particular encouraged to demonstrate outcomes with
An abstract of your research must be submitted in English, your instrument or voice. Please see page 24 for more
containing the following: information about the Master Research Symposium. The
detailed assessment rubric that will be used for the assessment
of the Master Research Presentation can be found in the
1. Your name course description of the ‘Individual Research Trajectory’ in the
2. Main subject Curriculum Handbooks.
3. Name of research supervisor(s)
4. Title of research
5. Research question VIII: Deadline 7 MAY 2023 – self-reflective report on
6. Summary of the results of the research Professional Integration Activities
(max. 250 words) (2nd year students only)
7. Short biography (max. 100 words) You will finish the Professional Integration Trajectory by writing
a self-reflective report in which you reflect on the process and
deliverable of your PIA and your role in this. Detailed information
on the assignment and assessment can be found in the course
This abstract will be included in the Master Research description of the 'Professional Integration Trajectory' in the
Symposium programme book. Curriculum Handbooks.
Part B
Composition
Theory of Music
Music Education according to the Kodály Concept
Vocal Studies (Ensemble Singing)
36
New master’s students* are expected to attend the
Master Research welcome session during the Royal
Conservatoire’s Start-Up! week.
Contents
Master of Music welcome session
Monday 29 August, 19.00 – 20.30 B.1 – Scope of part B 40
Conservatoriumzaal B.2 – Timeline Research 42
B.3 – Individual Research Trajectory 44
B.4 – Deadlines and presentations Research 54
* Master’s students from the following disciplines: Collaborations with other institutions 59
• Composition Contact and further information 60
• Theory of Music
• Music Education according to the Kodály Concept
• Vocal Studies (Ensemble Singing)
Contact Royal Conservatoire

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38 Composition, Theory of Music, Music Education according to the Kodály Concept, Vocal Studies (Ensemble Singing) 39
B.1 – Scope of part B Music Education according to the Kodály Concept
Students of the discipline Music Education according to the
Kodály Concept follow the regular master’s curriculum as
described in this handbook, but will be assigned a research
supervisor via Suzanne Konings. You will have a separate Master
This part of the handbook focuses mainly on research and offers Research Symposium. Designated deadlines of the preliminary
relevant information to students from the following disciplines: and final version of the research exposition or thesis may differ.
Composition, Theory of Music, Music Education according More information will follow via Head of Department Suzanne
to the Kodály Concept, and Vocal Studies (Ensemble Konings (s.konings@koncon.nl).
Singing). This handbook does not apply to students of the
National Master Orchestral Conducting (NMO): students of Ensemble Singing
the NMO should refer to the NMO Curriculum Handbook for Vocal students of the Ensemble Singing discipline follow
further information. the regular master’s research curriculum as described in this
handbook. In addition, to help them prepare for the NKK NXT
Depending on your discipline, only certain parts of this project, Ensemble Singing students follow the ‘Introduction to
handbook may be relevant for you. Please read the part about Project Management’ course.
your discipline below to find out which parts of this handbook
apply to you. Additional information about the curriculum of
your discipline can be obtained through the relevant Curriculum
Handbook on our website.
Important: always check the online curriculum overview of

your discipline.
Composition
Students of the Composition department follow the
regular master’s curriculum as described in this handbook,
but will have a separate Master Research Symposium.
You will also be assigned a research supervisor via the
Composition department.
Theory of Music
Students from the discipline Theory of Music follow the regular
master’s curriculum as described in this handbook, but will
be assigned a research supervisor via Head of Department
Suzanne Konings (s.konings@koncon.nl).
B.2 – Timeline First Year Students
Welcome session 29 August 2022
Research
Start work with research supervisor October 2022
Registration Master Electives 1 – 15 November 2022
Deadline research proposal 18 January 2023
Deadline revised research proposal 1 March 2023
Schedule and courses Master Research Symposium: 27 – 31 March 2023
The programme’s schedule will be as follows: Attendance of 3 presentations (Kodály: 13 – 14 June
• Semester 1: Introductory course ‘Research in the Arts’. required 2023; Composition:
Start of the master circles, organised according to nine 15 – 16 May 2023)
focus areas, with an introduction to the themes they
First Year Research Presentations May 2023 (t.b.a.)
will be addressing. You will also be assigned to your
individual research supervisor, who will assist you with the
development of your research. Based on the introductory
course and the circle, you will have a plan ready for your Second Year Students
research and hand in your research proposal at the end Deadline requests date Symposium 5 October 2022
of this semester. Deadline preliminary version research 23 November 2022
• Semester 2: Continuation of master circles. In May, first exposition or thesis (Kodály: 9 January
year students will be asked to present the progress they 2023; Composition:
have made with their research in the master circle. Master 1 February 2023)
electives, which in terms of content will also be connected to
the focus areas, usually take place in this semester. Deadline abstract 15 February 2023
• Semester 3: Continuation of master circles and of the (Kodály: 1 April 2023;
sessions with individual research supervisors. This is Composition: 15 March
also a good moment to go abroad on an ERASMUS 2023)
exchange (please see page 59 for more information Deadline research exposition or thesis 22 February 2023
about ERASMUS). (Kodály: 15 May
• Semester 4: Finalisation of research, master 2023; Composition:
research presentation. 29 March 2023)
Master Research Symposium: 27 – 31 March 2023
research presentations (Kodály: 13 – 14 June
2023; Composition:
15 – 16 May 2023)
Deadline material re-examinations 10 May 2023
research
Re-examinations research presentations 12 and 13 June 2023

B.3 – Individual
3. Music in Public Space
Research activities investigating the role of music and
musicians in society and daily life. Examples could be the role
Research Trajectory
of music in outreach activities, questions about music curation
or the social and political engagement of musicians in public
life. Social sensibility, engagement and awareness of cultural
dynamics and diversity are essential values in this area.
4. Creative Practice
Research training in the master’s programme centres on Research activities in this area are reflective investigations in
performing your own artistic research, where you specialise in and through the creation of music. Artistic experimentation
your own field. As a rule your artistic/musical practice will be the and documentation of the creative process are essential tools
point of departure when choosing a research topic and when for researching in this area. The perspective of the creating
formulating the research question. artist is central, but also her ability to situate and contextualise
research results in a wider artistic and cultural context.

A. Focus areas 5. Beyond Discipline
Students will be introduced to nine focus areas during the course Research topics focussed on multidisciplinary collaborations or
‘Introduction to Research in the Arts’, and will also be placed expansions of the musical practice through the integration of
in a master circle with a focus on one of these focus areas. The extra-musical perspectives. Examples are investigations into the
distribution of students over the various master circles is based on role of musicians in multidisciplinary productions, the inclusion
the Master Study Plans sent in as part of the application process. of gesture, singing or acting in instrumental performance, or the
The nine focus areas are: collaboration with non-artistic disciplines in musical creation.
Curiosity, risk-taking and the willingness to temporarily put
1. Art of Interpretation on hold the norms and values of common craftmanship are
Research topics focussed on the musical interpretation of characteristic values in this area.
repertoire, both historical and contemporary. Besides artistic
experimentation, research in this area presumes the study of 6. Musical Training, Performance & Cognition
various kinds of sources (scores, texts, recordings) which may Topics investigating the process of musical learning and
inform and inspire the musical interpretation and eventually lead performance. The focus may lie on musical preparation,
to altered approaches of performance practice. Critical listening avoidance of injuries, musical memory, mental and physical
and reading, stylistic enquiry and contextualisation of musical focus in performance, or the improvement of musical training
choices are typical ingredients of research in this area. and rehearsal methods. Research in this area is often informed
by other knowledge fields such as (music) psychology,
2. Instruments & Techniques biomedical sciences, physiotherapy etc. Although there are
Research topics focussed on the design, use, role and function possible overlaps with focus areas 8 and 9, the performer’s
of instruments and their playing techniques in musical practice. perspective is central in this area.
Research in this area typically requires the application of knowledge
about instrument making, acoustics or electronics, or the movement 7. Aesthetics & Cultural Discourse
possibilities of the human body. Researchers in this area show a Where do the standards, beliefs and values that surround
technically oriented interest, eagerness to experiment, sensibility musical practice originate from? Research topics in this focus
for sound, detail and analytical observation. Examples are the area aim at an in-depth understanding of the entanglement
exploration of historical, alternative or extended bowing techniques of musical practice, cultural contexts and societal dynamics.
for string players, breathing techniques for wind players or singers, Musical practice and experience are starting points for a
the use of microphones and amplification in the classical concert, or broader cultural and aesthetical inquiry. Possible examples of
the relation between instrumental set-ups and acoustics. topics are the investigation of changing sound ideals, historical
approaches of conceptions of ‘the beautiful’ or ‘musical over the two years of their studies up to 20 instead of 15 hours.
taste’, and discussions about notions of ‘musical quality’. The The method and frequency of supervision is entirely up to
musician-researcher in this area has an affinity for thinking, the supervisor and to you and will differ from one individual
reasoning and writing through language. to another. You and your (internal) supervisor use the online
Research Catalogue as a repository of your work in progress and
8. Educational Settings final research exposition.
Research in this area hones in on contexts such as classrooms, In April of your first year, your internal supervisor will be
social-cultural work and participatory art projects where the asked to write a brief report on the progress of your research,
musician operates as a teacher, cultural mediator or coach. which will be sent to your master circle leader. In the report,
your supervisor will be asked to answer the following questions:
9. Music Theory & Aural Skills 1. How would you describe the communication and working
Research topics focussed on the combined theoretical and relationship between you and the student so far?
aural understanding of music as an acoustic and cultural 2. Has the student settled on a viable research topic?
phenomenon. Examples are the investigation of tuning 3. To what extent does the student show insight into what
systems, scales and modes and their application in music, or steps to take in order to answer their research question?
the relationship between rhetoric and musical form in baroque 4. How would you describe the student’s motivation in moving
music. Projects in this area are often aimed at knowledge that forward at this point in the development of their research?
may be systematised for music didactics. An analytical and
methodical approach is characteristic for research in this area. Based on these questions, your supervisor will also be asked to
grade the progress you have made with your research in your
first year with a ‘pass’ (if you are on the right track) or a ‘fail’ (if
B. Research Supervisor you are behind and not progressing). A ‘fail’ mainly functions
You will have a personal research supervisor, from October as a warning and indicator; your supervisor can re-assess your
in your first year up to your research presentation in March progress once you are back on track.
or April of the second year. You will be assigned a research The Royal Conservatoire will not pay your travel expenses if
supervisor in October. This supervisor will be selected from you want to visit supervisors in other cities than The Hague, nor
a pool of teachers and researchers specially trained for this will the school pay travel expenses for supervisors who travel
purpose. In addition, you may choose a supervisor from outside from outside The Netherlands.
the pool of supervisors, with whom you can work part of the
time in conjunction with your assigned supervisor, should this
be deemed necessary. Such an external supervisor could be C. Documenting and presenting your research
an eminent musician or scholar who is not connected to the While the format of presentation and documentation may vary
conservatoire and who is specialised in the area of the research greatly depending on the nature of the research, its outcome, and
you are planning to undertake. A proposal for an external your main subject study, there must be a coherent relationship
supervisor will have to be discussed by 5 October 2022 between the research subject and the resulting documentation
with the Head of Master Research. and presentation. You should be aware of the importance of
You have 60 minutes a month, for personal instruction by the research subject for your own artistic development and for
your research supervisor. This represents 15 hours of individual other students and/or for the music world at large. In the three
supervision, including your supervisor's preparation of and semesters leading up to the presentation of the research, you
attendance at your trial presentation and final research will have developed a viable research question, and undertaken
presentation, over the entire course of the programme research with the guidance of a research supervisor. The results
(including time spent with an external supervisor). On top of should have a significant impact on your performing practice.
that, students who choose to write a thesis (see page 49)
and communicate this with the Master Research Team Research Catalogue
before 1 May 2023 will receive 5 additional hours of individual The Research Catalogue (researchcatalogue.net) is an
research supervision, bringing their total research supervision international database for the documentation and publication
of artistic research, and you will use it to document and present name(s) of research supervisor(s) and the final chosen format
your research. You will receive an introduction to the use of the of documentation (Exposition);
Research Catalogue through a workshop as part of the course 2. The research question or issue addressed and its relevance
'Introduction to Research in the Arts'. for peers, your own artistic development and the music
world at large;
Formats 3. A description of the research process (the search for the
The final documentation of the research results must take the solution to the research question) including methodology5;
form of a research exposition or thesis and must be presented 4. An analysis or critical discussion of the findings;
on the Research Catalogue. The exposition or thesis must be 5. Conclusions;
written in English and adhere to one of the following formats: 6. A list of the sources consulted: next to the bibliography this
may also include a list of interviews, experiments, etc;
1. Research exposition 7. The exposition may include performance registrations,
The research exposition is the culmination and final product transcriptions, original compositions, musical analysis,
of an in-depth period of research, and should include: critical instruction manuals, images or other material relevant to the
thinking, source evaluation, and documentation. The research research. It should be structured and embedded within the
exposition should also serve as a vehicle for sharing new Research Catalogue.
or expanded knowledge with the wider world. It should
be centered upon a process that concerns your musical h You must also adhere to the rules for quoting sources as
practice, and at the same time should demonstrate acquired addressed in the Introduction to Research in the Arts course;
research skills. h Suggested word count: 5,000-10,000 words, with an
absolute maximum of 40,000 words.
In the research exposition, the balance between the use of text h The exposition must be uploaded into the Research
and the use of other media (audio, video, scores, images) may Catalogue for submission.
vary. Whatever style you choose for the final dissemination of
your research, your artistic practice should remain central to 2. Thesis
the research and the resulting research exposition. You should If you wish to write an academic thesis, you should produce a
decide, in consultation with your supervisor(s), what balance substantial document with a defined structure, including an
and configuration of words, sounds and images, are appropriate introduction, a body and a conclusion, in which you document
to the communication and publication of your research. Here your research through reasoning and the use of evidence and
the multimedia possibilities of the Research Catalogue make the correct use of sources. Students planning to continue on
it possible to choose the most adequate format of the final to a PhD programme are advised to choose this format. Your
research exposition. artistic/musical practice will still be the point of departure.
You are encouraged to embed non-textual elements of your During the Master Research Symposium (see page 50) you
research directly into your written work on the RC, the action of are required to give a research presentation of 30 minutes,
doing so providing you with additional multimedia research and during which you defend your research subject and results
documentation skills. This, in addition, aids the presentation and in which the artistic result should be demonstrable. The
and dissemination of your research results to the wider world. committee will include at least one member with a PhD.
During the Master Research Symposium (see page 50) you The thesis must contain the following information:
are required to give a research presentation of 30 minutes, in 1. A Title Page (including title, your name, main subject,
which the artistic result should be demonstrable. student number, date, Royal Conservatoire The Hague,
name(s) of research supervisor(s) and the final chosen format
The research exposition must contain the following information: of documentation (Thesis);
1. A Title Page (including title, your name, main subject,
student number, date, Royal Conservatoire The Hague, 5 To be discussed in the Introduction to Research in the Arts course.
2. The research question or issue addressed and its relevance for The live presentations will be recorded and filmed for quality
peers and your own artistic development; assurance purposes. This material will only be for internal
3. A description of the research process (the search for the use and school archives, and cannot be shared with students
solution to the research question) including methodology; for personal use.
4. An analysis or critical discussion of the findings;
5. Conclusions;
6. A list of the sources consulted. Once the schedule has been made and communicated
via our online scheduling system ASIMUT
h You must adhere to the rules for quoting sources as addressed (koncon.asimut.net), it is no longer possible to change
in the Introduction to Research in the Arts course. times, dates and/or locations. Any requests should
h Suggested word count: 15,000-20,000 words, with an absolute be sent to the Coordinator Master Research by
maximum of 60,000 words. 5 OCTOBER 2022. In order to make a correct schedule
h The thesis must be uploaded into the Research Catalogue for the Master Research Symposium in March 2023, all
for submission. 2nd year students should inform the Master Research
Team by 5 OCTOBER 2022 if their chosen format
Students and supervisors are advised to discuss which format best is a thesis. After this date it is no longer possible to
suits the chosen research topic of the student with Kathryn Cok in alter the format.
year 1. Students who choose to write a thesis and communicate
this with the Master Research Team before 1 May 2023 will receive
5 additional hours of individual research supervision, bringing their
total research supervision over the two years of their studies up to Checklist research documentation and presentation
20 instead of 15 hours. When finalising your research exposition or thesis and preparing
for your research presentation, it can be helpful to use the
Master Research Symposium following checklist.
In the second semester of your second year of study, you are
required to give a 30-minute presentation of your research Relevance
in English to the committee of examiners in front of an interested • Artistic development
audience, having chosen an appropriate format of presentation Is the research relevant for the artistic development
and documentation. The presentation will take place in one of of the student?
the larger studios of the Royal Conservatoire, and should include • Wider context
live performance or audio and/or video examples in order to Is the research relevant for others, e.g. other students,
demonstrate the outcomes of your research. The presentation musicians, for the professional field or musical life at large?
is followed by questions from the committee of examiners and
if time allows, members of the audience. You will be given the Project design and content
results of your research and presentation immediately following • Questions, issues, problems
the deliberations of the committee. Are the research questions, issues or problems well
formulated or articulated? And how do they relate to the
A computer (PC or a Mac; this depends on venue and availability), student’s main studies?
internet connection, beamer and monitor will be present. You may • Methods
use your own computer, but you can also use a USB stick for your Are the chosen methods adequate to answer the questions,
presentations, which you should test beforehand. If other materials issues or problems? And how is musical practice as
are required (instruments other than a grand piano, equipment, method employed?
technology, etc.), you must arrange this yourself (via the Planning • Process
Department, the IT Department and/or the Electronics Workshop). Is the research process sufficiently well described or otherwise
We will make sure the grand piano has been tuned, but we are not communicated? To what extent is the research process based
responsible for the tuning of other instruments. on a dialogue between artistic practice and reflection?
• Contextualisation including the assessment criteria, which an examination
Does the student demonstrate sufficient awareness by committee will use to assess your research documentation
relating the research to the field of inquiry and to what and presentation. The assessment criteria from the rubric have
others have done in this area? also been formulated as a checklist you can use when finalising
• New knowledge, insights, experiences, your research documentation and preparing for your research
techniques and/or devices presentation (see page 51).
Does the research deliver something that we did not know,
understand, experience or have?
Compliance with international standards
Argumentation, documentation, presentation In general, master’s students should attain the learning
• Reasoning, writing, documentation outcomes as described in the Learning Outcomes for
Does the research make a clear case or claim and how does master’s studies defined by the European Association
the use of text relate to the use of non-textual, e.g. artistic of Conservatoires (AEC), such as:
material? And does the form of documentation support the • Practical (skills-based) outcomes
claim of the research? 2.A.7. Evidence ability to develop, research
• Information, source material, referencing, language and evaluate ideas, concepts and processes as
Is the information accurate, is the handling of source appropriate within their discipline, genre, area of
material and the referencing correct, and is the use of study, and/or own artistic practice.
English acceptable? • Theoretical (knowledge-based) outcomes
• Public presentation 2.B.7. Evidence understanding of a range of
Is the verbal and public presentation of the research sophisticated investigative techniques, enabling
well-structured and convincing? And is the role of the the application of selected approaches to develop,
artistic work in the presentation clear? Is the use of frame, research and evaluate ideas, concepts and
English acceptable? processes as appropriate within their discipline,
genre, area of study and/or artistic practice.
• Generic outcomes
2.C.7. Recognise the interrelationship between
D. Assessment of the Research Results theory and practice, and apply such knowledge
The Royal Conservatoire has based its master programme to underpin and strengthen their own
objectives on the AEC Learning Outcomes (2017) for 2nd artistic development.
cycle studies6 (= master’s study). This is an international
qualification framework developed by the European Association
of Conservatoires (AEC), which is based on a broad consultation
with institutions all over Europe and experts from the music
profession. All our course descriptions in the curriculum
handbooks refer to these programme objectives and the course
objectives and assessment criteria are connected to them.
You can find more information about the assessment of the

research presentation in the course description of ‘Individual
Research Trajectory’ in the Curriculum Handbooks. The
course description also contains a detailed assessment rubric,
6 Reference Points for the Design and Delivery of Degree Programs in Music,
Appendix A. AEC/Tuning Project, Bilbao July 2010. To be found at
unideusto.org/tuningeu/images/stories/Publications/tuningMusic2011.pdf.
B.4 – Deadlines
II: Presentation MAY 2023 – First Year
Research Presentation
and presentations
In May, all first-year students will be asked to present
the progress they have made with their research in the
master circle. The exact date of your presentation will be
Research
communicated to you by your master circle leader. Your
presentation should last around 10-15 minutes and address
the following questions:
1. What is your research question at this point in time?

You are expected to hand in written proposals or (interim) 2. Describe your research in one minute.
results during the two-year master’s programme, as well as 3. Are you working with your research supervisor and
give presentations, so that the progress of your research can how is this going?
be monitored. This chapter provides you with more information 4. What is your timeline from now until the
about the deadlines and presentations mentioned in see summer holiday?
chapter B.2 (Timeline Research). 5. How do you see yourself completing your
research in year two?
6. What issues, obstacles or challenges need a
I: Deadline 18 JANUARY 2023 – research proposal solution, and what are you doing to find solutions?
You must write and develop your personal research proposal
in English as soon as possible in the first semester of the first In May, your master circle leader will also receive a report on
year of the master’s programme in consultation with your your progress from your research supervisor. The information
research supervisor and master circle leader. This proposal in this report will be taken into account by your master
will be the conclusion of the course ‘Introduction to Research circle leader when grading your presentation. A detailed
in the Arts’. A detailed assessment rubric for the research assessment rubric for the First Year Research Presentation
proposal can be found in the course description of ‘Introduction can be found in the course description of the ‘master circle’
to Research in the Arts’ in the Curriculum Handbooks. Your in the Curriculum Handbooks.
research proposal must be uploaded to the Research Catalogue
and adhere to the following format:
All first year students are obliged to visit at least three
presentations during the Master Research Symposium
1. Title and possible sub-titles (for more information about the symposium, see
2. A research question page 50). The schedule of the presentations will be
3. Possible sub-questions distributed well in time via KonCon e-mail addresses
4. A brief description of the topic, including planning, and internet/the KC Portal.
chosen methods, and research process
5. Chosen form of documentation and presentation
(during the Master Research Symposium)
III: Deadline 23 NOVEMBER 2022 – preliminary version of of a digital ‘post-it note’ or comment. Precise instructions about
research exposition this process on the RC will be sent well in advance to your
(2nd year students only) supervisors by Casper Schipper. Please see pages 48-53 for
(Students Music Education according to the Kodály Concept: the formal requirements and assessment guidelines. A detailed
9 JANUARY 2023; Composition students: 1 FEBRUARY 2023) assessment rubric for the Master Research Presentation can
A preliminary version of the final research exposition or thesis be found in the course description of the ‘Individual Research
must be submitted in English to the Research Catalogue. The Trajectory’ in the Curriculum Handbooks.
preliminary version of the research exposition or thesis should
adhere to the same format (length and content) as the final
version (see pages 48-50), the only difference being that at VI: Presentation 27 – 31 MARCH 2023 – master
this stage you are still permitted to alter and add material, research presentation
e.g. text, after comments of the Head of Master Research (2nd year students only)
and supervisor(s). (Music Education According to the Kodály Concept:
13 – 14 JUNE 2023; Composition: 15 – 16 MAY 2023)
During the Master Research Symposium, you will you are
IV: Deadline 15 FEBRUARY 2023 – research abstract required to give a 30-minute presentation of your research
(2nd year students only) in English to the committee of examiners in front of an
(Students Music Education according to the Kodály Concept: interested audience, having chosen an appropriate format of
1 APRIL 2023; Composition students: 15 MARCH 2023) presentation and documentation. The presentation should
An abstract of your research must be submitted in English, include live performance or audio and/or video examples in
containing the following: order to demonstrate the outcomes of your research. Please see
page 50 for more information about the Master Research
Symposium. The detailed assessment rubric that will be used
1. Your name for the assessment of the Master Research Presentation can
2. Main subject be found in the course description of the ‘Individual Research
3. Name of research supervisor(s) Trajectory’ in the Curriculum Handbooks.
4. Title of research
5. Research question
6. Summary of the results of the research
(max. 250 words)
7. Short biography (max. 100 words)
This abstract will be included in the Master Research

Symposium programme book.
V: Deadline 22 FEBRUARY 2023 – final research

exposition or thesis
(2nd year students only)
(Students Music Education according to the Kodály Concept:
15 MAY 2023; Composition students: 29 MARCH 2023)
A complete digital version of the final research exposition or
thesis must be submitted in English on the Research Catalogue.
Please make sure your (internal) supervisor has given their
approval for submission of your research on the RC by means
Collaborations with
other institutions
Study abroad periods as part of the ERASMUS programme
Master’s students from the Royal Conservatoire have the
opportunity to take part in the ERASMUS programme and are
encouraged to do so. If you decide to study abroad as part
of your master’s, you should contact the Master Research
Team and the Professional Integration Team before the first
semester of your time abroad. Erasmus students coming from
abroad wishing to register for a master elective or the course
‘Introduction to Research in the Arts’ should also contact
Kathryn Cok and Roos Leeflang. For further information
regarding the ERASMUS programme and the exchange
and internship opportunities it offers, please contact Team
International via koncon.nl/international.
Cooperation with the Academy for the Creative and

Performing Arts and Leiden University
Taking a master’s degree at the Royal Conservatoire, you have
a unique opportunity to combine the arts and academic study
at a high level. Since September 2001, Leiden University’s
Academy for the Creative and Performing Arts (part of the
Faculty of the Humanities) and the University of the Arts The
Hague have been collaborating intensively in a programme
designed to integrate arts and academic study and to develop
a new course that combines artistic input and research.
Consequently, many of the hundreds of subjects taught at
Leiden University are open to you. For more information please
check studiegids.leidenuniv.nl, our Study Guide and the Master
Electives Handbook.
58 59
Contact and further Should you have any questions after reading this handbook,
please do not hesitate to get in touch:
information Master Research Team

Kathryn Cok, Head of Master Research
k.cok@koncon.nl
For more information about the mandatory elements please
check the course descriptions in the Curriculum Handbooks Roos Leeflang, Coordinator Master Research
of your programme via koncon.nl/opleidingen (choose your r.leeflang@koncon.nl
discipline and go to the page ‘Curriculum & Courses’).
Casper Schipper, Research Catalogue support
Schedule c.schipper@koncon.nl
Your schedule for all courses is available via our online
scheduling system ASIMUT (koncon.asimut.net) at the
beginning of the academic year.7 Any changes will be Professional Integration Team
communicated via ASIMUT (Planning Department) Renee Jonker, Head of Professional Integration
and/or teacher(s). r.jonker@koncon.nl
Master Electives Isa Goldschmeding, Coordinator Professional Integration

For more information about our Master Electives, please check i.goldschmeding@koncon.nl
the Master Electives Handbook on the KC Portal.
Registration: 1 – 15 November via Osiris.
Staying in touch
Throughout the year, additional information will be sent to your
KonCon e-mail address. Please note that we do not use private
e-mail addresses.
7 Search: course title.
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Royal

A.1 – Scope of part A 12

B.1 – Scope of part B 40

The educational philosophy of the Master of Music programme

The programme is aimed at helping you to find your place in the

This handbook focuses on the Master of Music programme. Two

1 Further information for research supervisors, professional integration coaches,

As the structure of your curriculum differs depending on your

Please read only part A or part B, depending on your discipline:

Part A applies to the disciplines Classical Music, Early Music,

Part B applies to the disciplines Composition, Theory of Music,

Contact Royal Conservatoire

Important: always check the online curriculum overview of

Art of Sound A. Artistic Development: you will receive individual tuition

Schedule and courses

The research supervisor is responsible for guiding and inspiring

Based on these questions, your supervisor will also be asked to

h You must adhere to the rules for quoting sources as

Master Research Symposium Checklist research documentation and presentation

The coaching will take place individually and in group sessions,

You are expected to hand in written proposals or (interim)

I: Deadline 18 JANUARY 2023 – Master Project proposal

Format Master Project proposal

A. Describe your view on your artistic development,

Contact Royal Conservatoire

Important: always check the online curriculum overview of

You can find more information about the assessment of the

1. What is your research question at this point in time?

This abstract will be included in the Master Research

V: Deadline 22 FEBRUARY 2023 – final research

Cooperation with the Academy for the Creative and

information Master Research Team

Master Electives Isa Goldschmeding, Coordinator Professional Integration

7 Search: course title.

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